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In Debord's terms, situationists defined the spectacle as an assemblage of social relations transmitted via the imagery of class power, and as a period of capitalist development wherein "all that was once lived has moved into representation".

As a result, Debord attended high school in Cannes, where he began his interest in film and vandalism.

Debord joined the Letterist International when he was 19.

Debord was said to be "victim of the Spectacle he fought".

Among the many commentaries on Debord's demise, one scholar noted: “Guy Debord did not kill himself.

Having established the situationist critique of art as a social and political critique, one not to be carried out in traditional artistic activities, the SI began, due in part to Debord's contributions, to pursue a more concise theoretical critique of capitalist society along Marxist lines.

With Debord's 1967 work, The Society of the Spectacle, and excerpts from the group's journal, Internationale Situationniste, the Situationists began to formulate their theory of the spectacle, which explained the nature of late capitalism's historical decay.

In the 1960s, Debord led the Situationist International group, which influenced the Paris Uprising of 1968, during which he took part in the occupation of the Sorbonne.

Some consider his book The Society of the Spectacle (1967) to be a catalyst for the uprising, although perhaps a more immediately significant text was Mustapha Khayati's "On the Poverty of Student Life", published in November 1966.

The SI was known for a number of its interventions in the art world, which included one raid against an international art conference in Belgium during 1958 that included a large pamphlet drop and significant media coverage, all of which culminated in the arrest of various situationists and sympathizers associated with the scandal.